Tag: interactive

REVIEW: Fight For America!

Published on by Savinay SoodLeave a comment

Rating: 4.5 out of 5.

Immersive Theatre meets Tabletop Gaming for a unique and engaging experience

I wasn’t sure what to expect walking into Fight for America, the idea of playing a tabletop roleplaying game based on the January 6th riots. The show is at the Stone Nest, a hidden gem on Shaftesbury Avenue. Developed by the American Vicarious who are known for their innovative creations which reflect on America’s ideals, the show aims to have its participants reflect on the political turmoil surrounding the January 6th riots. Part traditional war game, part immersive theatre, Fight For America was an unexpectedly engaging and interesting night.

On arrival you are given a character pack, a card with a description and some abilities (some which require you to do public karaoke). Your characters either belong to Team Red (a coalition of Proud Boys, Oath Keepers, QAnon conspiracy theorists and right wing thinkers) or Team Blue (law enforcement). All of the characters are based on real people and it felt a little surreal to be wearing the name tag of someone with such diametrically opposed views to my own. In our run, there was a subversion of history, Team Red won and Mike Pence was hanged. This is not a foregone conclusion, and Team Blue have won before. 

The game was designed by Alessio Cavatore, known for his work on Warhammer 40k, who’s a major name in the Table Top Roleplaying Game space. The game is incredibly mechanically well designed, it is satisfying to play and simple enough to pick up more or less after a single round. However where the experience shines is in its theatrical elements. The set is truly phenomenal, painstakingly recreating where the actual rioters and police officers were on the day. The Stone Nest is intricately decorated, and features like interactive buttons, detailed animations and an excellent soundtrack bring the game to life. The evening is compèred fantastically by Dana Watkins. 

My criticisms are relatively small, it would have been nice if the rules had been posted more prominently, and if there were small stools for the shorter players (like myself!). My feeling is anyone who is willing to pay for the ticket, will have an enjoyable evening. Whilst I can understand the potential catharsis, I am unsure if this is the sort of thing that will change hearts and minds, but it is certainly satisfying to play. 

The game ends with sobering footage from the actual January 6th riots, followed by updates on what happened to each of the people you can play. Four years after the fact, their favoured president is in office, their sentences pardoned and commuted and the Overton window has shifted in their favour. It is hard not to think that Team Red won in real life too.

Fight For America! runs at the Stone Nest until 7th July.

REVIEW: ARCADE

Published on by Eoin FentonLeave a comment

Rating: 4 out of 5.

The darkly immersive 8-bit experience returns to London for a limited run.

Immersive audio group DARKFIELD brings four works to the shabby confines of The Ditch at Shoreditch Town Hall for a two-week run. DARKFIELD have established themselves as wholly unique in their endeavour to create work that is as fully immersive as possible. Part radio play, part 4D cinema experience, part haunted house, the award-winning outfit has quite the gimmick going on. Tonight I had time for one experience, ARCADE, which tripped out audiences at last year’s BFI Film Festival. Now, it’s the headline work of their East London residency.


The concept of ARCADE is pretty simple. Each audience member is assigned to an upright, retro style arcade console, fitted with a single button to answer yes to questions as we wish, a coin slot, and a tray where tokens pop out as we might need them. With our headphones on we enter the body of Milk, the awkward and unassuming protagonist in a story of violence and political upheaval. There are many possible variations to the story and we are given the chance to begin again if necessary — I somehow managed to get myself killed within the first five minutes. Without giving too much away my story included murder, disguise, and even a bit of romance. Each person, however, will come out with a different story.


What makes an experience at DARKFIELD unique is the essential element of their
immersive stories taking place in darkness. Though already forewarned about how dark the experience would be, I was still floored by just how dark it was — not even being certain if my eyes were closed or not. There is a dizzying strangeness to the scenario, listlessly playing this arcade game in total darkness, detached from the presence of the audience members mere inches away from you.


This darkness creates a dream-like feel to ARCADE. We are lucid, but find ourselves at the mercy of these meandering voices and images. It’s a simple, clever idea delivered with remarkable production. The machines possess a modest control panel, but also vibrate and pound like an anxious heartbeat. The screen, normally totally blank, flashes if we’ve been shot or decide to pull a trigger. Occasionally you see your neighbours’ screens flickering, a reminder that they’re on their own journey, or indeed that they’re in the space at all — it’s very consuming.


It may be enough to rest on their laurels presenting work in such a canny manner, but the story, acting, and audio production of ARCADE are all top-notch. There are moments of post-apocalyptic schtick, but as our story progresses we become further entrenched within the world of Milk. The experience is on the shorter side, running at thirty minutes, and DARKFIELD does offer discounts to experience more than one work per night for those willing to test their nyctophobia. But short run-time aside, once the lights come on we find ourselves wanting to do it all over again.

In Conversation with DARKFIELD

Published on by Tabitha JamesLeave a comment

Tell us about DARKFIELD and the shows you’re bringing to Edinburgh

    DARKFIELD create innovative immersive 360 degree audio experiences at the forefront of technology and theatre. They employ detailed sets, complete darkness, binaural sound, sensory effects and shipping containers to situate each participant at the centre of intense evolving narratives.

    Our new show, ARCADE, which is being presented at Summerhall, uses the nostalgic 8-bit aesthetic of 1980’s video games to tell an interactive narrative exploring the evolving relationship between players and avatars. It is a choose-your-own-path experience in a completely dark shipping container, employing 360 degree binaural sound and sensory effects. Players guide their avatar through a world ravaged by endless war. There are many routes and many different outcomes.

    FLIGHT, which will be sited outside Pleasance Dome, takes place in absolute darkness inside a 40ft shipping container with an interior that exactly resembles an Airbus 320 economy cabin.  The story explores the Many-Worlds Interpretation of quantum mechanics, taking audience members through two worlds, two realities and two possible outcomes to their journey.  

    Who are the main character(s) in the show and what are they like?

    The main character in ARCADE is the avatar that the player guides through the story. They may meet Tar and/or Kim, the leaders of the two respective armies, as well as their respective cohorts. There are about 75 other characters in the world of the show. The main characters in FLIGHT are the Captain, the Cabin Crew and the other passengers on the plane with you. 

    How does it feel to be bringing ARCADE and FLIGHT to the Edinburgh Festival Fringe?

      We love coming to the Fringe. Edinburgh has been a great place to showcase our work and we’ve been every year since 2017, with the exception of Covid year 2020. We generally premiere a new show at Summerhall and for the last three years have also managed to open some of our other containers outside the Pleasance Dome. 

      Have you done the Fringe before? What are the key pieces of advice you have been given or would give to new groups or people performing at the Fringe?

        Bringing a show to the Fringe is very expensive – the accommodation is very hard to come by and extortionate. If you have friends you can stay with, invite yourself. The Fringe is a bit of a monster that can swallow you up so it’s probably best to accept this, embrace the challenges and try and enjoy yourself. 

        What do you hope that audiences will take away from experiencing a DARKFIELD show?

          Our shows offer something different – they’re short and intense and audiences can fit them in between other shows they’re watching. They run at various times throughout the day, which helps when people’s schedules are full.

          We want our audiences to leave our containers excited and this year we’re particularly intrigued about how our audiences will respond to ARCADE. We hope they’re interested in the different journeys other audience members have been on, and are excited to hear all the conversations that follow the show. The show is constructed for multiple visits and we’re putting in place a discount scheme for those who want to give it more than one go. 

          What is your favourite thing about Edinburgh during August or what are you most looking forward to?

            I think if you can plan your visit, book the shows you like the look of, before you arrive you might have a better experience. Arriving unprepared can result in paralysis as there are so many things to see – which of course is what makes it so exciting. Make sure you leave space for the unexpected. Last year I randomly picked a show called Dark Noon by Fix+Foxy, and it was brilliant. I’m hoping to catch something as good again this year.  

            Peaky Blinders: The Rise at The Garrison, Camden Stables Market

            Published on by Alex AnsdellLeave a comment

            Rating: 4 out of 5.

            A high-octane, rock ‘n roll romp through the world of the Brummie Blinders

            I’ll get the cliché out of the way now: Fans of the show will love it !!

            Immersive Everywhere’s new show Peaky Blinders: The Rise, directed by Tom Maller and written by Katie Lyons, is housed in a converted horse hospital in the heart of Camden Stables Market. Adapted from Stephen Knight’s TV show about the Shelbys, a family of Birmingham bookmakers in the 1920s, The Rise takes place around the start of Season 2. Having taken control of the northern racecourses, the Shelbys are expanding their betting/bootlegging operation into London with the help of Camden whisky-brewer Alfie Solomons. Here, they battle kingpin Charles ‘Darby’ Sabini for a lucrative export licence to sell whisky in America.

            The immersion cannot be faulted, largely down to Rebecca Brower’s production design. The dark and seedy atmosphere of the Shelby-owned The Garrison has been expertly brought to life, contrasted by the posh Sabini-owned Eden Club. The two clubs are perfect foils, thrusting us in the middle of the Brummie-London battle.

            The casting is excellent, it really feels like our beloved Shelbys have leapt off the screen. All the actors must be commended, not only for their meticulous work replicating these iconic characters, but for their commitment to audience involvement. Brits are not built for immersive theatre. Our polite awkwardness can make us feel like a rabbit in headlights anytime we’re asked a question: “Am I allowed to…? Oh right, so now I…can I have a script?” But these actors are brave and generous, driving us into the action and banishing any boredom or FOMO from this two-hour romp.

            Without prior knowledge, the opening half-hour could be confusing. You’re flung into The Garrison with a bit too much grabbing your attention – an intriguing conversation with a Shelby or Thorne might be cut short by a call for silence as exposition is shouted across the pub. It’s easy to lose the story but, truth be told, the story itself isn’t the heart of the show. The heart lies in your individual journey through this world and it’s where The Rise shines.

            For a show with hundreds of audience members, it does an incredible job of personalising the experience and making you feel like a vital cog in the Shelby operation.  With others from the audience I was whisked away by a Peaky, first to defuse a secret bomb and then to steal money from Sabini’s Eden Club. I felt real unity with these strangers as we bribed, conspired, and giggled our way through our own side-quest. I’m certain that on another night, I would’ve got a completely different yet equally engaging mission.

            The music (Barnaby Race) must get a mention. Part of what made the TV show so captivating was its rock ‘n roll soundtrack and it’s replicated here – anthems by The White Stripes, The Fratellis and the Arctic Monkeys blast throughout The Garrison, turning us from audience to football crowd.

            It’s not for everyone: non-fans will have to work hard to piece together the fragmented story, shyer audience members might not get enough attention and while I loved the Wembley-esque atmosphere, some might find it uncomfortable. However, by the show’s electrifying climax it would be impossible not to be cheering the Shelbys on.

            By the end of the night I had given advice to Grace, spied for Lizzie, danced with Ada (highlight – Ada pls call me) and shook hands with Tommy Shelby himself. When Tommy first appears, silhouetted and striding through The Garrison to the tune of Red Right Hand, it’s a Peaky fan’s equivalent of being front-row at Harry Styles. If you left Season 6 still with an itch to scratch, then £40 is well-worth the giddy joy you’ll get seeing these characters in the flesh.

            For fans, it’s a must-see. By order of the Peaky f***ing Blinders

            P.S. I would like to apologise to Grace for spoiling her own death in Season 2, you looked genuinely shocked.

            HIGHLIGHT: Peaky Blinders: The Rise opens in less than a month

            Published on by Tabitha JamesLeave a comment

            Producers Immersive Everywhere, in association with Caryn Mandabach Productions and Steven Knight, announce the full cast for PEAKY BLINDERS: THE RISE, at the Camden Garrison opening on Friday 24 June 2022. www.immersivepeakyblinders.com

            PEAKY BLINDERS: THE RISE is an immersive theatrical show that places audiences in the heart of one of the world’s most popular TV series. Presented in collaboration with Peaky Blinders creator Steven Knight and Caryn Mandabach Productions, you are invited to get dressed up and fully immersed in Tommy Shelby’s world. As the story unfolds you will experience live sets, unmissable character interactions, competitive game play and ultimately determine whether Tommy Shelby and his family succeed in their ambition to take London.

            1921, London. Tommy has taken the northern racecourses and eliminated his opponent, Billy Kimber. He now has his sights set on a London expansion… 

            With the approval of north London kingpin, Alfie Solomons, Tommy personally invites you to a family meeting at the Shelbys’ Camden warehouse. Tommy has a plan that could prove lucrative for everyone, and it promises to be a night of celebration. 

            Whether you kick back in the Camden Garrison Pub with Arthur, advise Tommy on his business affairs in his office, or conspire with the Italians in the Eden Club, how the family meeting goes is for you to decide. However, you must keep your eyes open and your ear to the ground, Tommy’s enemies are closer than you think, and they may want to make you an offer you’ll find hard to refuse. 

            But before you choose where your loyalties lie, get suited and booted ready for a night with the Peaky Blinders at the Camden Garrison. With three possible narrative outcomes, your decisions have consequences and directly affect the rise or the fall of the Shelby family.   

            PEAKY BLINDERS: THE RISE is directed by Tom Maller, who is also Creative Director, set and costume designs are by Rebecca Brower, with a script by Katie Lyons, music by Barnaby Race, lighting design by Terry Cook for Woodroffe Bassett, sound design by Luke Swaffield for Autograph, dramaturgy by Raphael Martin, the Associate Director is Elena Voce and the Vocal and Accent Coach is Sarah McGuinness.